Editing Univers

{{Short description|Neo-grotesque sans-serif typeface family}}
{{distinguish|Universe}}
{{Infobox font
| name = Univers
| image = Univers sample 2015.png
| style = [[Sans-serif]]
| classifications = [[Sans-serif#Neo-grotesque|Neo-grotesque]]
| releasedate = 1957
| creator = [[Adrian Frutiger]]
| foundry = [[Deberny & Peignot]]<br/>[[Mergenthaler Linotype Company|Linotype]]
| variations = Zurich
}}
'''Univers''' ({{IPA|fr|ynivɛʁ|-|LL-Q150 (fra)-GrandCelinien-univers.wav}}) is a [[sans-serif]] [[typeface]] family designed by [[Adrian Frutiger]] and released by his employer [[Deberny & Peignot]] in 1957.<ref>Meggs, Philip B. (1998). "Meggs' History of Graphic Design - 4th Edition". John Wiley & Sons. p.361. {{ISBN|0-471-69902-0}}</ref> Classified as a [[Grotesque (typeface classification)|neo-grotesque]] sans-serif, one based on the model of nineteenth-century German typefaces such as [[Akzidenz-Grotesk]], it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths. The original marketing for Univers deliberately referenced the [[periodic table]] to emphasise its scope.<ref>{{cite book|title=Univers specimen book|date=1968|publisher=American Type Founders|url=https://archive.org/details/ATFFoundryUniversDebernyPeignotIP1968|access-date=18 September 2015}}</ref>

Univers was one of the first typeface families to fulfil the idea that a typeface should form a family of consistent, related designs. Past sans-serif designs such as [[Gill Sans]] had much greater differences between weights, while loose families such as American Type Founders' [[Franklin Gothic]] family often were advertised under different names for each style, to emphasise that they were not completely matching. By creating a matched range of styles and weights, Univers allowed documents to be created in one consistent typeface for all text, making it easier to artistically set documents in sans-serif type. This matched the desire among practitioners of the [[International Typographic Style|"Swiss style" of typography]] for neutral sans-serif typefaces avoiding artistic excesses.

The design concept of Univers was intended to take advantage of the new technology of [[phototypesetting]], in which fonts were stored as glass discs rather than as solid metal type and matrices for every size to be used. Deberny & Peignot had established itself as a leader in this technology, although as by the time of its launch metal type was still very popular, the design was also released in this form. Univers was rapidly licensed and re-released by [[Monotype Imaging|Monotype]], Linotype, [[American Type Founders]], [[IBM]] and others for phototypesetting, for metal type and reproduction by typewriter.<ref name="Subtleties of the Univers">{{cite journal|last1=Budrick|first1=Callie|last2=Biemann|first2=Emil|title=Subtleties of the Univers|journal=Print|date=1961|url=http://www.printmag.com/design-inspiration/subtleties-of-the-univers/|access-date=22 January 2016}}</ref> Historian [[James Mosley]] has described it as "probably the last major" release of a large family as [[metal type]].<ref name="The Nymph and the Grot p9">{{cite book|last1=Mosley|first1=James|title=The Nymph and the Grot|date=1999|location=London|page=9}}</ref>

==Characteristics==
[[File:Remy_Peignot_Univers_specimen_1964.jpg|thumb|right|Rémy Peignot's Univers graphic emphasised the family's scope through referencing the [[periodic table]].]]
{{Quote box
 |quote  = Some of these old sans serifs have had a real renaissance within the last twenty years, once the reaction of the 'New Objectivity' had been overcome. A purely geometrical form of type is unsustainable.
 |source = Frutiger in 1961, explaining why his design had rejected the [[Sans-serif#Geometric|geometric sans-serif]] design trend popular from the 1920s to the 1950s.<ref name=P88>{{cite book|last1=Frutiger|first1=Adrian|title=Typefaces: The Complete Works|date=2014|isbn=9783038212607|page=88|publisher=Walter de Gruyter }}</ref>
 |width  = 30%
 |align  = left
}}
Univers is one of a group of [[Grotesque (typeface classification)|neo-grotesque]] [[sans-serif]] typefaces, all released in 1957,<ref>Spiekermann, Erik and E.M. Ginger (2003). ''Stop Stealing Sheep & find out how type works''. Peachpit Press, p. 65. {{ISBN|978-0-201-70339-9}}</ref> that includes [[Folio (typeface)|Folio]] and Neue Haas Grotesk (later renamed [[Helvetica]]). As all are based on Akzidenz-Grotesk, these three faces are sometimes confused with each other. These typefaces figure prominently in the [[International Typographic Style|Swiss Style]] of [[graphic design]].

Univers was released after a long period in which geometric typefaces such as [[Futura (typeface)|Futura]] had been popular. Frutiger disliked purely geometric designs, finding them too rigid, following a common school of thought among Swiss designers of the period. While studying at the [[Kunstgewerbeschule]] (Arts and Crafts School) in Zürich, he had begun to sketch a revived grotesque family based on 19th-century grotesques, at the time considered antiquated outside Switzerland. He described Univers in 1998 as having a 'visual sensitivity between thick and thin' strokes, avoiding perfect geometry.<ref name="Reputations: Adrian Frutiger">{{cite web|last1=Schwemer-Scheddin|first1=Yvonne|title=Reputations: Adrian Frutiger|url=http://www.eyemagazine.com/feature/article/reputations-adrian-frutiger|website=Eye|access-date=12 September 2015}}</ref>

Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. The design, with a working title of ''Monde'',<ref name="P88" /> was developed from 1953 to a final release in 1957.

Like most grotesque and neo-grotesque sans-serifs, Univers's slanted form is an [[Oblique type|oblique]], in which the letterforms are slanted, with minor corrections but no other major alterations. This is different from a [[Italic type|true italic]], in which the letterforms become modified to resemble handwriting more.<ref name="auto">{{cite web|last1=Majoor|first1=Martin|title=My type design philosophy|url=http://www.martinmajoor.com/6_my_philosophy.html|access-date=12 September 2014}}</ref> In the original design, Frutiger chose [[Oblique type|obliques]] with the extremely aggressive slant of sixteen degrees, which was reduced to twelve in some later releases. Linotype Univers (below) returns to the original angle.

[[File:Univers original ampersand.png|thumb|Univers' [[ampersand]] is a distinctive 'et' ligature of a style popular in French-speaking countries.]]
Frutiger's original ampersand was a true 'et' ligature, similar to that in [[Trebuchet MS|Trebuchet]] among others. Frutiger later provided an alternative for non French-speaking countries in which the form might be less familiar.<ref name="Lange" /><ref name="Flawed Typefaces" />

The Deberny & Peignot library was acquired in 1972 by [[Haas Type Foundry]]. It was transferred into the D. Stempel AG and Linotype collection in 1985 and 1989 respectively upon the Haas'sche Schriftgiesserei's acquisition and closure; it is now owned by [[Monotype Imaging|Monotype]] following its purchase of [[Linotype GmbH|Linotype]] in 2007.<ref>{{cite web|title=Univers|url=https://www.myfonts.com/fonts/linotype/univers/|website=MyFonts|publisher=Monotype|access-date=26 March 2015}}</ref> An independent version of Univers was licensed by the [[Berthold Type Foundry]] for its phototypesetting system with adaptations by [[Günter Gerhard Lange]]; Frutiger wrote in his autobiography that he had some affection for it.<ref name="Lange">{{cite book|last1=Frutiger|first1=Adrian|title=Typefaces: The Complete Works|pages=97–102}}</ref>

==Comparison with Akzidenz-Grotesk, Folio, and Helvetica==
[[Image:AGcomparison08.svg|thumb|250px|Comparison of distinguishing characters in [[Akzidenz-Grotesk]], [[Folio (typeface)|Folio]], [[Helvetica]], and Univers 55]]
Univers is similar in design to other European grotesque fonts, of which Akzidenz-Grotesk, Folio, and Helvetica are among the most common. Differences include:

* The tail of 'a' and the top of '1' are much less rounded.
* Upper-case 'G' is formed without an arrow head (called a ''spur'').
* Both arms of 'K' join at the stem.
* The tail of 'Q' runs along the baseline.
* The tail of 'R' is curved (compared with Akzidenz-Grotesk).
* The top of 't' is angled.
* The dot of the 'i' is not square but a rectangle.
* Lower-case 'y' has a straight descender.
* Many of the numerals in Univers have straight vs. curved ascenders
* Helvetica tends to have a slightly greater [[x-height]] than Univers
* Univers generally has quite a wide spacing between letters, and its low x-height gives it a more low-slung, splayed appearance than Helvetica, especially in bold.

Frutiger himself has commented: "Helvetica is the jeans, and Univers the dinner jacket."<ref>{{cite web|last1=Majoor|first1=Martin|title=Inclined to be dull|url=http://www.eyemagazine.com/feature/article/inclined-to-be-dull|date=Spring 2007|website=Eye|access-date=3 August 2015}}</ref> [[Walter Tracy]] described it as better proportioned for text than Helvetica: "more original and subtle in its modelling than Helvetica and, because its character spacing was properly done, a better performer in text composition."<ref name="Letters of Credit">{{cite book|last1=Tracy|first1=Walter|title=Letters of Credit|page=99}}</ref> Mosley has described its even design as "rather bland" and noted that Monotype's eccentric, chaotically organised [[Monotype Grotesque|Grotesque family]] remained popular with more "iconoclastic" printers in the 1960s.<ref name="The Nymph and the Grot, an update">{{cite web|last1=Mosley|first1=James|title=The Nymph and the Grot, an update|url=http://typefoundry.blogspot.co.uk/2007/01/nymph-and-grot-update.html|website=Type Foundry (blog)|access-date=6 March 2016}}</ref><ref name="The Nymph and the Grot p9" /> Stephen Coles describes Univers as "in some ways, even more spare [than Helvetica] (no beards or tails)"<ref name="Alternatives to Helvetica Coles">{{cite web |last1=Coles |first1=Stephen |title=Helvetica and Alternatives to Helvetica |url=http://fontfeed.com/archives/helvetica-and-alternatives-to-helvetica/ |archive-url=https://web.archive.org/web/20080921081307/http://fontfeed.com/archives/helvetica-and-alternatives-to-helvetica/ |url-status=dead |archive-date=21 September 2008 |website=FontFeed (archived) |access-date=3 August 2018}}</ref> and [[Simon Loxley]] comments that Helvetica "escapes the chilliness of Univers...it does have some elusive quality that gives it a friendlier feel".<ref name="Loxley2006">{{cite book|author-link=Simon Loxley|first=Simon|last=Loxley|title=Type: The Secret History of Letters|url=https://books.google.com/books?id=9AfP2prmEDUC|date=12 June 2006|publisher=I.B.Tauris|pages=172–4|isbn=978-1-84511-028-4}}</ref> Dutch font designer [[Martin Majoor]], while praising Univers for its "almost scientific" range of weights, criticised it for its lack of originality: "basing a sans serif on another is rather cheap."<ref name="auto"/> Frutiger's later landmark sans-serif designs, [[Avenir (typeface)|Avenir]] and [[Frutiger (typeface)|Frutiger]], would take very different, more [[humanist sans-serif|humanist]] and [[geometric sans-serif|geometric]] approaches.

==Usage==
[[Image:PowerBook Univers keycaps.jpg|thumb|right|[[Keycap]]s featuring Univers from a pre-2003 [[PowerBook G4]]]]
[[File:Audi A3 instruments.JPG|thumb|''Audi Sans'', a variation of Univers used in the dashboard graphics of an [[Audi A3]] instrument panel]]
Univers enjoyed great popularity in the 1960s and 1970s because many corporations adopted it for usage. [[Apple Inc.]] previously used this typeface as well as its condensed oblique variant for the keycaps on many of its keyboards.<ref>{{Cite web |last=Jones |first=D. Griffin |date=17 November 2022 |title=Every keyboard Apple ever made — ranked! |url=https://www.cultofmac.com/reviews/every-mac-keyboard-reviewed |access-date=10 November 2024 |website=Cult of Mac}}</ref> [[Munich Re]] used a custom version of Univers until 2009.<ref>{{cite web|url=http://www.rebrand.com/2010-notable-munich-re|title=2010 REBRAND 100 Notable - Munich Re - Rebranding by MetaDesign German|access-date=2015-03-09|archive-url=https://web.archive.org/web/20130726042804/http://www.rebrand.com/2010-notable-munich-re|archive-date=2013-07-26|url-status=dead}}</ref>

Audi Sans is a variant based on Univers,<ref>{{cite web|url=http://www.linotype.com/en/1597/adsrecreation.html|title=Linotype Fonts in Use - Ads / Recreation}}</ref> designed by [[Ole Schäfer]].<ref>{{cite web|url=http://www.primetype.com/home_profile.php?p=1|title=primetype.com|author=Primetype GmbH}}</ref> It became Audi's corporate identity font in the 1990s<ref>Neil Macmillan. ''An A-Z of Type Designers'', p29-30. 2006. [[Laurence King Publishing]] {{ISBN|1-85669-395-3}}/{{ISBN|1 85669 395 3}}</ref> when Audi contracted MetaDesign to support Audi's brand management strategy.<ref>{{cite web|url=http://www.metadesign.de/html/en/2310.html|title=Home - MetaDesign - Berlin|work=MetaDesign - Berlin}}</ref>  The font was used extensively by Audi, appearing in sales literature, corporate communications, owners' documentation and even on the vehicles themselves in the instrument panel graphics and their [[Multi Media Interface|MMI]] dashboard displays.

==The Frutiger numbering system==
Adrian Frutiger designed his unique classification system to eliminate naming and specifying confusion. It was first used with Univers, and was adopted for use in the [[Frutiger (typeface)|Frutiger]], [[Avenir (typeface)|Avenir]], and [[Neue Helvetica]] typeface families.

The number used in a font is a concatenation of two numbers. The first digit defines weight, while the second defines width and whether it is oblique or not.

{| class="wikitable"
|+ Suffix
|-
! Number ||1||2||3||4||5||6||7||8||9||10
|-
! Weight
| - ||Ultra Light||Thin||Light||Normal, Roman, or Regular||Medium||Bold||Heavy||Black||Ultra or Extra Black
|-
! Width and position
|Ultra Extended||Ultra Extended Oblique||Extended||Extended Oblique||Normal||Oblique||Condensed||Condensed Oblique||Ultra Condensed||-
|}

(note: [[oblique type|oblique]] is not strict [[italic type|italic]])

As an example, the number 56 denotes the ''normal weight'' (a first digit of 5) and an ''oblique style'' with the normal width (a second digit of 6).

Due to some typeface manufacturers’ failure to understand and implement the system correctly, however, things have actually become more confusing. To further complicate matters, the numbering system is not consistently applied to the Univers font family. In older publications, all oblique fonts have even-numbered 2nd values; but in digital versions, both odd and even 2nd values have been used on oblique fonts, but not in all font formats or weights. For example, Univers 55 Roman Oblique has both Windows menu names and PostScript full names as ''Univers LT 55 Oblique'' and ''Univers 56 Oblique'', but only for the Windows PostScript version of the font; however, in Univers 85 Extra Black Oblique, there is no font named Univers 86 in any format. Nevertheless, oblique Univers fonts always have even-numbered 2nd value.

Inconsistent usage aside, the syntax of 2nd value is also inconsistent with 1st value. Bigger 1st value implies the glyph of a given character uses more horizontal space, but it has opposite meaning in 2nd value.

===Linotype numbering system===
In Linotype Univers and Univers Next font family, a 3-number system is used. First numeral describes font weight, second numeral describes font width, third numeral describes position.<ref>{{cite web|url=http://www.linotype.com/en/1813/linotypeunivers.html|title=Linotype Platinum Collection - Linotype Univers 3.0}}</ref>

{| class="wikitable"
|+ Suffix
|-
!Number||0||1||2||3||4||5||6||7||8||9
|-
! Weight
| -||Ultra Light||Thin||Light||Regular||Medium||Bold||Heavy||Black||Extra Black
|-
! Width
| -||Compressed||Condensed||Basic||Extended||-||-||-||-||-
|-
! Position
|Roman||Italic||-||-||-||-||-||-||-||-
|}

Unlike the original Univers, tilted fonts in Linotype Univers and derivative font families have not been named 'oblique'.

==Releases==
Versions of Univers have been released for almost every major typesetting system, including versions for a wide range of writing systems and with additional features such as [[schoolbook characters]].

Although Univers was originally conceived to take advantage of the cost-saving properties of phototypesetting (Deberny & Peignot, hoping to leapfrog their competitors by taking full advantage of the new technology, advertised their Lumitype glass master discs as each replacing three tons of brass [[Matrix (printing)|matrices]]<ref name="Savoie Foundries">{{cite web|last1=Savoie|first1=Alice|title=French Type Foundries in the Twentieth Century|url=http://typeculture.com/academic-resource/articles-essays/french-type-foundries-in-the-twentieth-century/|website=Type Culture|access-date=7 September 2017}}</ref><ref name="Monotype and Phototypesetting">{{cite journal|last1=Boag|first1=Andrew|title=Monotype and Phototypesetting|journal=Journal of the Printing History Society|date=2000|pages=57–77|url=http://www.letterpress.ch/APINET/IMMPDF/MONOPHOTO/PHS_journal.pdf|access-date=22 July 2016|archive-url=https://web.archive.org/web/20160328052034/http://www.letterpress.ch/APINET/IMMPDF/MONOPHOTO/PHS_journal.pdf|archive-date=28 March 2016|url-status=dead|df=dmy-all}}</ref>), Deberny & Peignot arranged licensing deals with type foundries such as Monotype for wider release.<ref name="Stanley Morison Moran">{{cite journal|last1=Moran|first1=James|title=Stanley Morison|journal=Monotype Recorder|date=1968|volume=43|issue=3|page=28|url=http://www.metaltype.co.uk/downloads/mr/mr_43_3.pdf|access-date=13 September 2015}}</ref> Univers was quite successful in metal type, with several weights among Monotype's best-selling of all time despite being released at the very end of the metal type era, although Frutiger felt that the Monotype version, which some later versions copied, was limited by the antiquated Monotype technical system.<ref name="Matrix sales chart">{{cite journal|last1=Randle|first1=John|title=The Monotype|journal=Matrix|date=1984|volume=4|pages=42–54|url=https://twitter.com/whittingtonpres/status/720745586069213185|access-date=9 October 2016}}</ref>

===Pre-digital versions===
[[File:Univers Flair (6982628144).jpg|thumb|A specimen sheet of Univers Flair.]]
Frutiger (with Howard "Bud" Kettler) adapted Univers for the [[IBM Selectric Composer]] in the 1960s.<ref>{{cite book
 | last = Macmillan
 | first = Neil
 | title = An A-Z of Type Designers
 | year = 2006
 | publisher = Laurence King Publishing
 | isbn = 978-1-85669-395-0
 | page = 118
 }}</ref><ref>{{ cite journal | title = The IBM Selectric Composer: The Evolution of Composition Technology | journal = IBM Journal of Research and Development | last = Frutiger | first = Adrian | author-link = Adrian Frutiger | date = 1967-02-27 | publisher = IBM |  volume = 12 | issue = 1 | pages = 9–14 | doi=10.1147/rd.121.0009}}</ref> This was an ultra-premium electric 'golfball' [[typewriter]] system, intended to be used for producing high-quality office documents or copy to be photographically enlarged for small-scale printing projects.<ref name="Typefaces - the complete works_composer">{{cite book|last1=Stamm|first1=Swiss Foundation Type and Typography ; edited by Heidrun Osterer and Philipp|title=Adrian Frutiger typefaces : the complete works|date=2009|publisher=Birkhäuser|location=Basel|isbn=978-3764385811|page=192|edition=English}}</ref> Unlike most typewriters, the Composer produced proportional type, rather than monospaced letters. Ultimately the system proved a transitional product, as it was displaced by cheaper phototypesetting, and then in the 1980s by word processors and general-purpose computers.<ref name="McEldowney2013">{{cite book|first=Dennis|last=McEldowney|title=A Press Achieved: the Emergence of Auckland University Press, 1927-1972|url=https://books.google.com/books?id=VT1eAwAAQBAJ&pg=PT102|date=1 October 2013|publisher=Auckland University Press|isbn=978-1-86940-671-4|pages=102–5}}</ref> The release was somewhat compromised due having to be made to fit a 9-unit escapement system.

Several pirate versions of Univers have been released taking advantage of the lack of copyright protection of typeface designs. One unusual modified version was "Univers Flair", a 1970s phototype clone from Phil Martin's "Alphabet Innovations", adding ostentatious [[Swash (typography)|swashes]].<ref>{{cite web|last1=Simonson|first1=Mark|title=Interview with Phil Martin|url=http://typographica.org/on-typography/interview-phil-martin/|website=Typographica|access-date=30 August 2014}}</ref> Frutiger, who found it amusing, placed a specimen on his office wall.<ref name="Univers Flair">{{cite book|last1=Frutiger|first1=Adrian|title=Typefaces: The Complete Works|pages=105, 425}}</ref>

===URW Classic Sans===
Univers 45, 55, 65, 57, 67, 53 and 63 (regular and bold weights with obliques in regular and condensed widths) are incorporated in the [[PostScript 3]] digital printing standard as core fonts. As part of the [[Ghostscript]] project to create a free alternative to PostScript, [[URW++]] donated its clones of these weights under the series name U001, and then as URW Classic Sans under the [[Aladdin Free Public License]].<ref>{{cite web|title=Ghostscript|url=http://www.ghostscript.com |website=Ghostscript|access-date=19 January 2015}}</ref><ref>{{cite web|title=fontlibrary.org|url=https://fontlibrary.org/fr/font/u001 |website=fontlibrary.org|access-date=4 May 2018}}</ref>

===Linotype Univers===
In 1997 Frutiger reworked the whole Univers family in cooperation with [[Mergenthaler Linotype Company|Linotype]], thus creating the Linotype Univers, which consists of 63 fonts. By reworking the Univers more "extreme" weights as ''Ultra Light'' or ''Extended Heavy'' were added as well as some monospaced typefaces. The numbering system was extended to three digits to reflect the larger number of variations in the family.

In addition to extra font width and weight combinations, the fonts are digitally interpolated, so that character widths scale uniformly with changing font weights. For fonts within a specific font weight, caps height, x-height, ascender and descender heights are the same. For oblique fonts, the slope is increased from 12° to the 16° of Frutiger's original drawings, and the character widths were adjusted optically. In addition, characters such as &, ®, euro sign, are redesigned, the ampersand to Frutiger's preferred true et ligature.<ref name="Flawed Typefaces">{{cite web|last1=Shaw|first1=Paul|title=Flawed Typefaces|url=http://www.printmag.com/featured/flawed-typefaces/|website=Print magazine|date=12 May 2011 |access-date=30 June 2015}}</ref>

===Linotype Univers Typewriter===
Linotype Univers Typewriter is a sub-family of fixed-width fonts under the Linotype Univers family. Four fonts have been produced in Regular and Bold weights, with obliques on each weight. Characters such as 1, I, J, M, W, i, j, l, [[dotless j]] are drawn differently.

===Univers Next (2010)===
In 2010, Linotype extended the Linotype Univers family with true small caps and renamed as "Univers Next". All later extensions of the font family were marketed under the Univers Next title.

The font family includes all fonts previously released under the Linotype Univers title.

===Univers Cyrillic, Univers Pro Cyrillic (2010)===
In April 2010, Linotype announced the release of Cyrillic versions of the original Univers family, in TrueType, PostScript, and OpenType Pro font formats. Released fonts include Univers 55 Roman Oblique; Univers Pro Cyrillic 45 (roman, oblique), 55 (roman, oblique), 65 (roman, oblique), 75 (roman, oblique), 85 (roman, oblique), 47 (roman, oblique), 57 (roman, oblique), 67 (roman, oblique), 39 (roman), 49 (roman), 59 (roman).<ref>{{cite web|url=http://www.linotype.com/en/6276/internationaltypographygetsacyrillicboost.html|title=Cyrillic Fonts - Linotype Font Feature}}</ref>

===Univers Next W1G===
This version supports Greek and Cyrillic characters.

The font family includes 12 fonts (330, 331, 430, 431, 530, 531, 630, 631, 730, 731, 830, 831) in 6 weights and 1 width, with complementary obliques.

The Cyrillic version was released as Univers Next Cyrillic in OpenType Pro format.

===Univers Next Arabic (2011)===
[[File:Univers arabic mostra tipografica.png|thumb|Univers Next Arabic.]]
Univers Next Arabic is a companion to the Latin typeface Univers Next designed by [[Nadine Chahine]] with the consulting of Adrian Frutiger. It is a modern Kufi design with large open counters and low contrast, mainly designed to work in titles and short runs of text. The font includes the basic Latin part of Univers Next and support for Persian, Urdu and Arabic. It also includes proportional and tabular numerals for the supported languages.

The font family consists of 3 fonts (330, 430, 630) in 3 weights and 1 width, without obliques. OpenType features include fraction, localized forms, proportional figures, contextual alternates, discretionary ligatures, initial forms, terminal forms, glyph composition/decomposition, isolated forms, medial forms, required ligatures.

==References==
{{reflist}}


[[Category:Neo-grotesque sans-serif typefaces]]
[[Category:Linotype typefaces]]
[[Category:Typefaces and fonts introduced in 1957]]
[[Category:Letterpress typefaces]]
[[Category:Photocomposition typefaces]]
[[Category:Digital typefaces]]
[[Category:Typefaces designed by Adrian Frutiger]]